A group of German construction workers start a tough job at a remote site in the Bulgarian countryside. The foreign land awakens the men’s sense of adventure, but they are also confronted with their own prejudice and mistrust due to the language barrier and cultural differences.
This film is not currently playing on MUBI but 30 other great films are. See what’s now showing
Digital. Her 2 previous feature films are of a disturbing dramatic concentration that magnifies representation with an utterance of the signs of anguish. This one, so allegorically installed in the accumulation of its proposings' signifiers, is reduced, by so much signs- the horse, the border...- mostly to another exhibition of how pleasant it's to observe non-actors, specially Meinhard Neumann. Beatiful end, though.
WESTERN struck me as strange, putting me in an unaccustomed position as viewer. It is clearly something blocked-out, but there is a remarkable organicism and quality of immanence; it drew me in but almost completely failed to register as an artistic or certainly as an "aesthetic" experience. It becomes very much about "being w/" the characters on screen. That the film is so strong is a testament to its non-actors.
(Cannes 2017) Wonderful use of classic Western tropes - campfires, horses, guitars, sweeping vistas, cicadas, betrayal, brotherhood, machismo etc. - to tell the story of German itinerant construction workers in rural Bulgaria. Very strong characters, performances and story, with a perfect ending.
La pamînt unde limbă bulgară și limbă germană / Estul Europei și Vestul Europei ciocnesc reciproc, cu o reprezentare delicată despre mișcarea energetică sau subtilă a corpului și expresiei faciale, "Western" descrie un moment ca un miracol mic cînd noi înțelegem comun acord dincolo de cuvinte. Extraordinar.//ブルガリア語とドイツ語/東欧と西欧が交じり合う地において、肉体の躍動や表情の微かな動きが繊細に掬い取っていく事で、"Western"は言葉を越えた先で理解しあえる小さな奇跡にも似た一瞬を浮かび上がらせている。素晴らしい。
Fantasticly slow build up of tension that might get you a bit dissapointed with its, a bit, anticlimax ending. A true western of it's kind with the (anti)hero not riding Shane-like mysteriously into the sunset leaving everything and everyone behind but actually looking for his place in the world, for a home, for a place he will belong to.
The hype around this fakely compassionate social-realist bullshit is mind-blowing. This is a silly exercise of self-indulgence that just plays the same tune that 90% of the festival-goers want to hear. It has shallow ambiguity; a ridiculous sense of "depth"; lazy, linear, reactionary mise-en-scène; and a bunch of generic observations about life in the countryside & the beauty of human misery.